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Sarah Kent

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Bio
Sarah was the visual arts editor art of Time Out, the ICA’s Director of Exhibitions, has served on Turner Prize and other juries, and has written catalogues for the Hayward, ICA, Saatchi Gallery, White Cube and Haunch of Venison and books such as Shark-Infested Waters: The Saatchi Collection of British Art in the 90s.

Articles By Sarah Kent

Another Kind of Life, Barbican review - intense encounters with marginal lives

Friday, 02 March 2018 Read more...

Mark Dion: Theatre of the Natural World, Whitechapel Gallery review - handsome installations

Friday, 16 February 2018 Read more...

Come to Dust: Glenn Brown, Gagosian Gallery review - seductive and disturbing

Monday, 29 January 2018 Read more...

Human Flow review - two hours of human misery

Tuesday, 05 December 2017 Read more...

Imagine... Rachel Whiteread: Ghosts in the Room, BBC Two review - making memories solid

Sunday, 03 December 2017 Read more...

Rose Wylie: Quack Quack, Serpentine Gallery - anarchy at 83

Friday, 01 December 2017 Read more...

The Machines of Steven Pippin, The Edge, University of Bath review - technology as poetry

Wednesday, 22 November 2017 Read more...

Red Star Over Russia, Tate Modern review – fascinating history in a nutshell

Wednesday, 08 November 2017 Read more...

Ilya and Emilia Kabakov, Tate Modern review – funny, moving and revelatory

Wednesday, 18 October 2017 Read more...

Basquiat: Boom for Real, Barbican review - the myth explored

Friday, 22 September 2017 Read more...

Rachel Whiteread, Tate Britain review – exceptional beauty

Wednesday, 13 September 2017 Read more...

Final Portrait review - utterly convincing portrayal of an artist at work

Monday, 14 August 2017 Read more...

Trajal Harrell: Hoochie Koochie, Barbican review - flamboyant and mesmerising

Saturday, 22 July 2017 Read more...

Rose Finn-Kelcey: Life, Belief and Beyond, Modern Art Oxford review - revelation and delight

Wednesday, 19 July 2017 Read more...

Portraying a Nation, Tate Liverpool review – an inspired juxtaposition

Monday, 26 June 2017 Read more...

The Seasons in Quincy: Four Portraits of John Berger review - voyages round a giant

Tuesday, 20 June 2017 Read more...

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'We are bowled over!' Thank you for your messages... ...
The Shrouds review - he wouldn't let it lie

“Dying is an act of eroticism,” suggested one of the many disposable characters in David Cronenberg’s first full-length feature, Shivers...

Album: Claudia Brücken - Night Mirror

German singer Claudia Brücken has had a long and busy career,...

Jurassic World Rebirth review - prehistoric franchise gets a...

The first Jurassic Park movie now seems virtually Jurassic itself, having been released in the sepia-tinged year of 1993. Directed with...

Album: Mocky - Music Will Explain (Choir Music Vol. 1)

Dominic “Mocky” Salole has had a long career in which the tension between authenticity and pastiche has been a constant. Toronto-born, of English...

Semele, Royal Opera review - unholy smoke

Poor, slightly silly Semele fries at the sight of lover Jupiter casting off his mortal form, but in Congreve’s and Handel’s supposedly happy...

Sudan, Remember Us review - the revolution will be memorised

In 2019, French-Tunisian journalist and documentary filmmaker Hind Meddeb flew to Sudan after the overthrow of hated dictator Omar al-Bashir,...

Le nozze di Figaro, Glyndebourne review - perceptive humanit...

Over 100 years ago, John Christie envisaged Wagner’s Parsifal with limited forces in the Organ Room at Glyndebourne. He would have been...

Quadrophenia, Sadler's Wells review - missed opportunit...

The red, white and blue bull’s-eye on the front curtain at Sadler’s Wells tells us we are in the familiar territory of Pete Townshend’s...

Fidelio, Garsington Opera review - a battle of sunshine and...

Sometimes, as the first act of Beethoven’s Fidelio closes, the chorus of prisoners discreetly fade away backstage as their brief taste of...